Rhythm
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b. 44
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composition: Op. 2, Variations, complete
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The notation of FE, with a demisemiquaver going beyond the 3rd note of the semiquaver triplet, is contrary to the Chopinesque understanding of such a combination of a dotted rhythm with a triplet – see the note on b. 45-46. category imprint: Differences between sources issues: FE revisions |
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b. 45-46
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composition: Op. 2, Variations, complete
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In the main text, we place a demisemiquaver under/over the last note of a semiquaver triplet in each of the 4 places where such a combination occurs, in accord with the notation of A (→GE→EE,FESB). In FE1 (→FE2) the demisemiquaver in these figures is placed after the last semiquaver of the triplet. This is certainly an arbitrary revision of the engraver of this edition, who had not yet seen that Chopin was using this Baroque-Classical convention, which in the 19th century was gradually superseded by a notation conforming with the strictly calculated nominal rhythmic values of the notes. In all places (as well as in bar 44) AsI notes a dotted rhythm in twice the rhythmic values, as category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Dotted rhythms and triplets , FE revisions |
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b. 45
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composition: Op. 2, Variations, complete
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In A and all editions, the e category imprint: Interpretations within context; Editorial revisions issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 47-48
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
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b. 49
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
. This is an obvious mistake.
1 note on the 3rd crotchet in the bar is wrongly a double dotted crotchet. In 
